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THE 


BLIND  GIRL  OF  CASTEL  -  CUILLE 


POEM  BY 


HENRY   W.    LONGFELLOW 


Illustrated  Tableaux  with  Musical  Accompaniment 


ARRANGED   BY 


MARGUERITE   W.    MORTON 


Price  25  Cents 

NEW  YORK 
EDGAR  S.  WERNER 


Copyright,   1892,  by  Edgar  S.  Werner 


THE 
BLIND  GIRL  OF  CASTEL-CUILLE. 


Henry   W.  Longfellow. 


ILLUSTRATED    TABLEAUX    WITH    MUSICAL    ACCOMPANIMENT. 


Arranged  by  Marguerite  W.  Morton. 


The  Reader  should  stand  on  a  raised  platform  at  one  side  of  the  principal  stage 

PART   I. 

At  the  foot  of  the  mountain  height 

Where  is  perched  Castel  Cuille, 
When  the  apple,  the  plum  and  the  almond  tree 

In  the  plain  below  were  growing  white, 

This  is  the  song  one  might  perceive 
On  a  Wednesday  morn  of  Saint  Joseph's  eve : 

[Sung  behind  scenes.~\ 

"  The  roads  should  blossom,  the  roads  should  bloom, 
So  fair  a  bride  shall  leave  her  home  ! 
Should  blossom  and  bloom  with  garlands  gay, 
So  fair  a  bride  shall  pass  to-day  !  " 

This  old  Te  Deum,  rustic  rites  attending, 
Seemed  from  the  clouds  descending ; 
When  lo  !  a  merry  company 
Of  rosy  village  girls,  clean  as  the  eye, 
Came  to  the  cliff,  all  singing  the  same  strain ; 
Resembling  there,  so  near  unto  the  sky, 
Rejoicing  angels,  that  kind  Heaven  has  sent 
For  their  delight  and  our  encouragement. 


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It  is  Baptiste  and  his  affianced  maiden, 
"With  garlands  for  the  bridal  laden. 

Together  blending, 

And  soon  descending 

The  narrow  sweep 

Of  the  hillside  steep, 

They  wind  aslant 

Toward  St.  Amant, 

Through  leafy  alleys 

Of  verdurous  valleys, 

With  merry  sallies 

Singing  their  chant. 

[Curtain  rises  on  Tableau  I.     Chorus  si7igs.'\ 

[Adapted from  Grieg's  "Norwegian  Bridal  Procession,"  by  Lilian  C. 

Morton.~\ 

INTRODUCTION.  CHORUS. 


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The  sky  was  blue ;  without  one  cloud  of  gloom, 
The  sun  of  March  was  shining  brightly, 
And  to  the  air  the  freshening  wind  gave  lightly 

Its  breathings  of  perfume. 

Meanwhile,  whence  comes  it  that  among 
These  youthful  maidens  fresh  and  fair, 
So  joyous,  with  such  laughing  air, 
Baptiste  stands  sighing,  with  silent  tongue  ? 
And  yet  the  bride  is  fair  and  young. 

It  is  that  half-way  up  the  hill, 
In  yon  cottage,  by  whose  walls 
Stand  the  cart-house  and  the  stalls, 
Dwelleth  the  blind  orphan  still, 
Daughter  of  a  veteran  old ; 
And  you  must  know,  one  year  ago, 
That  Margaret,  the  young  and  tender, 
Was  the  village  pride  and  splendor, 
And  Baptiste  her  lover  bold. 
Love,  the  deceiver,  them  ensnared ; 
For  them  the  altar  was  prepared ; 
But  alas  !   the  summer's  blight, 
The  dread  disease  that  none  can  stay, 
The  pestilence  that  walks  by  night, 
Took  the  young  bride's  sight  away. 


All  at  the  father's  stern  command  was  changed ; 
Their  peace  was  gone,  but  not  their  love  estranged. 
AVearied  at  home,  ere  long  the  lover  fled ; 

Returned  but  three  short  days  ago, 

The  golden  chain  they  round  him  throw, 

He  is  enticed  and  onward  led 

To  marry  Angela,  and  yet 

Is  thinking  ever  of  Margaret. 

Then  suddenly  a  maiden  cried : 

"  Anna,  Theresa,  Mary,  Kate  ! 

Here  comes  the  cripple  Jane !" 

A  woman,  bent  and  gray  with  years, 

Now  upon  the  scene  appears, 

And  all  toward  her  run,  as  fleet 

As  had  they  wings  upon  their  feet. 

It  is  that  Jane,  the  cripple  Jane, 

Is  a  soothsayer,  wary  and  kind. 

But  for  this  once  tbe  village  seer 

Wears  a  countenance  severe, 

And  from  beneath  her  eyebrows  thin  and  white, 

Her  two  eyes  flash,  like  cannons  bright, 

Aimed  at  the  bridegroom  in  waistcoat  blue, 

"W  ho,  like  a  statue,  stands  in  view ; 

Changing  color,  as  well  he  might, 

When  the  beldame,  wrinkled  and  gray, 

Takes  the  young  bride  by  the  hand, 

And,  with  the  tip  of  her  reedy  wand 

Making  the  sign  of  the  cross,  doth  say : 

[Curtain  rises  on  Tableau  II.'] 

[Header  turns  toward  stage  as  she  sai/s :] 

"  Thoughtless  Angela,  beware  ! 
Lest  when  thou  weddest  this  false  bridegroom 
Thou  diggest  for  tbyself  a  tomb  !" 

[Curtain  falls.] 


Saddened  a  moment,  the  bridal  train 
Resumed  the  dance  and  song  again ; 
The  bridegroom  only  was  pale  with  fear. 
And  down  green  alleys 
Of  verdurous  valleys, 
With  merry  sallies, 
They  sang  the  refrain  : 

[Sung  behind  scenes.     Same  music  as  in  Tableau  7.] 

"  The  roads  should  blossom,  the  roads  should  bloom, 
So  fair  a  bride  shall  leave  her  home! 
Should  blossom  and  bloom  with  garlands  gag, 
So  fair  a  bride  shall  pass  to-day/  " 

PART   II. 

By  suffering  worn  and  weary, 

But  beautiful  as  some  fair  angel  yet, 

Thus  lamented  Margaret, 

In  her  cottage  lone  and  dreary : 

"  He  has  arrived  !  arrived  at  last ! 

Yet  Jane  has  named  him  not  these  three  days  past ; 

Arrived !  yet  keeps  aloof  so  far ! 

And  knows  that  of  my  night  he  is  the  star! 

Where  is  Baptis'te  ?    he  hears  not  when  I  call ! 

A  branch  of  ivy,  dying  on  the  ground, 

I  need  some  bough  to  twine  around  ! 

In  pity  come  !      Be  to  my  suffering  kind  ! 

True  love,  they  say,  in  grief  doth  more  abound. 

What  then — when  one  is  blind  ? 

"  Who  knows  ?  perhaps  I  am  forsaken  ! 
Ah !  woe  is  me !  then  bear  me  to  my  grave  ! 

Oh,  God  !  what  thoughts  within  me  waken  ? 
Away  !  he  will  return  !  I  do  but  rave  ! 

He  will  return  !     I  need  not  fear ! 

He  swore  it  by  our  Saviour  dear ; 


He  could  not  come  at  his  own  will ; 

Is  weary,  or  perhaps  is  ill ! 

Perhaps  his  heart  in  this  disguise 

Prepares  for  me  some  sweet  surprise  ! 
But  some  one  comes !     Though  blind,  my  heart  can  see ! 
And  that  deceives  me  not !      'Tis  he  !      'Tis  he  !" 
And  the  door  ajar  is  set, 
And  poor,  confiding  Margaret 
Rises,  with  outstretched  arms  but  sightless  eyes. 
'Tis  only  Paul,  her  brother,  who  thus  cries  : 

"  Angela,  the  bride,  has  passed  ! 

I  saw  the  wedding-guests  go  by  ; 
Tell  me,  my  sister,  why  were  we  not  asked  ? 

For  all  are  there  but  you  and  I ! 

Perhaps  they  will  come ;  for  they  do  not  wed 

Till  to-morrow  at  seven  o'clock,  it  is  said." 

"  Angela  married !  and  not  send 
To  tell  her  secret  unto  me  ? 
O  speak  !  who  may  the  bridegroom  be  ?  " 

"  My  sister,  'tis  Baptiste,  thy  friend  ?  " 

A  cry  the  blind  girl  gave,  but  nothing  said ; 

A  milky  whiteness  spreads  upon  her  cheeks  ; 
An  icy  hand,  as  heavy  as  lead, 

Descending,  as  her  brother  speaks, 

Upon  her  heart,  that  has  ceased  to  beat, 

Suspends  awhile  its  life  and  heat. 

[Curtain  rises  on  Tableau  III.] 

[ Reader  turns  toward  stage  and  says  .•] 

"  Hark  !  the  joyous  airs  are  ringing  ! 
Sister,  dost  thou  hear  them  singing  ?  " 

[Curtain  falls.'] 

Now  rings  the  bell,  nine  times  reverberating, 
And  the  white  daybreak,  stealing  up  the  sky, 


Sees  in  two  cottages  two  maidens  waiting, 
How  differently ! 

Queen  of  a  day,  by  flatterers  caressed, 

The  one  puts  on  her  cross  and  crown, 

Decks  with  a  huge  bouquet  her  breast, 

And  flaunting,  fluttering  up  and  down, 

Looks  at  herself  and  cannot  rest. 

[Curtain  rises,-  then  falls  on  Tableau  IV.    Music  same  as  in  Tableau  /.] 

The  other,  blind,  within  her  little  room, 
Has  neither  crown  nor  flower's  perfume ; 

But  in  their  stead  for  something  gropes  apart, 
That  in  a  drawer's  recess  doth  lie, 
And,  'neath  her  bodice  of  bright  scarlet  dye, 

Convulsive  clasps  it  to  her  heart. 

The  one,  fantastic,  light  as  air, 
'Mid  kisses  ringing, 
And  joyous  singing, 
Forgets  to  say  her  morning  prayer  ! 

The  other,  with  cold  drops  upon  her  brow, 

Joins  her  two  hands,  and  kneels  upon  the  floor, 
And  whispers,  as  her  brother  opes  the  door, 
"  0  God  !  forgive  me  now  !  " 

[Curtain  rises  on  Tableau  V.~\ 


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[Cwtom  falls.'] 

Then  the  orphan,  young  and  hlind, 

Conducted  by  her  brother's  hand, 
Toward  the  church,  by  paths  unscanned, 

With  tranquil  air  her  way  doth  wind. 

Near  the  castle,  fair  to  see, 

And  proud  of  its  name  of  high  degree, 

A  little  chapel,  almost  bare, 

At  the  base  of  the  rock  is  builded  there ; 

All  glorious  that  it  lifts  aloof, 

Above  each  jealous  cottage  roof, 

Its  sacred  summit,  swept  by  autumn  gales, 

And  its  blackened  steeple  high  in  air, 

Round  which  the  usprey  screams  and  sails. 

"  Paul,  lay  thy  noisy  rattle  by  !  " 

Thus  Margaret  said.     "  Where  are  we  ?  we  ascend  !  " 
"  Yes  ;  seest  thou  not  our  journey's  end  ? 

Hearest  not  the  osprey  from  the  belfry  cry  ? 

The  hideous  bird,  that  brings  ill  luck,  we  know  ? 

Dost  thou  remember  when  our  father  said, 

The  night  we  watched  beside  his  bed, 

'  0  daughter,  I  am  weak  and  low, 


Take  care  of  Paul ;  I  feel  that  I  am  dying  ! ' 

And  thou  and  he  and  I  all  fell  to  crying? 

Then  on  the  roof  the  osprey  screamed  aloud  ; 

And  here  they  brought  our  father  in  his  shroud. 

There  is  his  grave  ;  there  stands  the  cross  we  set ; 

Why  dost  thou  clasp  me  so,  dear  Margaret? 

Come  in  !      The  bride  will  be  here  soon  ; 

Thou  tremblest !      O  my  God  !  thou  art  going  to  swoon  !  " 

She  could  no  more,  the  blind  girl,  weak  and  weary ! 

A  voice  seemed  crying  from  that  grave  so  dreary, 

"  What  ivould'st  thou  do,  my  daughter  f  "  and  she  started, 

And  quick  recoiled,  aghast,  faint-hearted ; 

But  Paul,  impatient,  urges  evermore 

Her  steps  toward  the  open  door; 

And  when,  beneath  her  feet,  the  unhappy  maid 

Crushes  the  laurel  near  the  house  immortal, 

And  with  her  head,  as  Paul  talks  on  again, 

Touches  the  crown  of  filigrane 

Suspended  from  the  low-arched  portal, 

No  more  restrained,  no  more  afraid, 

She  walks  as  for  a  feast  arrayed, 
And  in  the  ancient  chapel's  sombre  night 
They  both  are  lost  to  sight. 

At  length  the  bell, 
With  booming  sound, 
Sends  forth  resounding  round, 
Its  hymeneal  peal  o'er  rock  and  down  the  dell. 
It  is  broad  day,  with  sunshine  and  with  rain; 

And  yet  the  guests  delay  not  long, 
For  soon  arrives  the  bridal  train, 

And  with  it  brings  the  village  throng. 

In  sooth,  deceit  maketli  no  mortal  gay, 
For  lo !  Baptiste,  on  this  triumphant  day, 
Mute  as  an  idiot,  sad  as  yester-morning, 
Thinks  only  of  the  beldame's  words  of  warning. 


10 


And  Angela  thinks  of  her  cross,  I  wis ; 

To  be  a  bride  is  all !     The  pretty  lisper 

Feels  her  heart  swell  to  hear  all  round  her  whisper, 

"  How  beautiful !  how  beautiful  she  is  !  " 

But  she  must  calm  that  giddy  head, 

For  already  the  mass  is  said; 

At  the  holy  table  stands  the  priest ; 
The  wedding-ring  is  blest ;  Baptiste  receives  it; 
Ere  on  the  finger  of  the  bride  he  leaves  it, 

He  must  pronounce  one  word  at  least. 
'Tis  spoken  ;  and  sudden,  at  the  groomsman's  side, 
"  'Tis  he  !  "  a  well-known  voice  has  cried. 
And  while  the  wedding-guests  all  hold  their  breath, 
"  Baptiste,"  she  says,  "  since  thou  hast  wished  my  death, 
As  holy  water  be  my  blood  for  thee !  " 
And  calmly  in  the  air  a  knife  suspended. 

[Curtain  rises  ;  then  falls  on  Tableau  VI.~] 

Doubtless  her  guardian  angel  near  attended, 

For  anguish  did  its  work  so  well, 
That,  ere  the  fatal  stroke  descended, 
Lifeless  she  fell. 

[Curtain  rises  on  Tableati  VIl.~] 

[Adapted from  Batiste's  "Elevation"  by  Lilian  C.  Morton.'] 


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At  eve,  instead  of  bridal  verse, 

The  De  Profundis  filled  the  air. 

Decked  with  flowers  a  simple  hearse 

To  the  church-yard  forth  they  bear  ; 

Village  girls  in  robes  of  snow 

Follow,  weeping  as  they  go  ; 

Nowhere  was  a  smile  that  day, 

No,  ah,  no !  for  each  one  seemed  to  say : 

"  The  road  should  mourn  and  be  veiled  in  gloom, 
So  fair  a  corpse  shall  leave  its  home ; 
Should  mourn  and  should  weep,  ah,  well-a-day ! 
So  fair  a  corpse  shall  pass  to-day  !  " 


COSTUMES. 


The  ladies  should  wear  peasant  costumes — short,  round  skirt,  full 
white  waists,  black  or  colored  bodices,  low  shoes,  and  caps.  Angela's 
dress  should  be  white ;  the  others  may  be  of  any  preferred  color.  An 
effective  costume  for  Margaret  consists  of  black  skirt  and  white  waist 
with  crimson  bodice  and  cap. 

The  priest  should  wear  a  long  robe.  The  other  gentlemen  should 
wear  peasant  costume,  Baptiste's  being  a  little  gayer  and  richer  than  the 
others.  Cripple  Jane,  a  long,  loose  cloak  of  dull  brown  or  gray,  with 
pointed  hood.     Hair  powdered  and  hanging  about  the  face. 

TABLEAU  I. 

Scene,  a  wood.  Angela  and  Baptiste  in  centre.  Baptiste  turned 
partially  away  from  Angela,  gazing  abstractedly  into  the  distance. 
Angela,  smiling  and  happy,  in  merry  conversation  with  one  of  the 
maidens  who  form  a  circle  around  the  betrothed  pair.  A  few  young 
men  in  peasant  costume  may  be  grouped  back  of  the  others  and  engage 
in  light  by-play  with  the  dancers,  not  mingling  with  them  in  such  a  way 
as  to  obscure  the  figures  of  the  dance. 

The  dance  may  be  executed  by  8,  12  or  16  young  ladies,  according 
to  the  amount  of  stage-room  available.  All  should  be  provided  with 
wreaths,  which  may  be  made  of  the  wooden  rings  used  in  gymnastic 
exercises  twined  with  smilax  and  flowers.     One-half   the  number  (every 


13 

other  one  as  they  stand  in  a  circle)  hold  these  wreaths  in  the  right 
hand ;  the  others,  in  the  left.  Partners  stand  facing  each  other,  holding 
one  wreath  high  between  them  with  their  right  hands,  while  the  left 
reaches  down  and  back  in  opposition  to  right  and  holds  the  wreath 
which  is  held  in  the  left  hand  of  the  person  standing  next  in  the  circle. 
This  makes  a  complete  ring,  right  hands  all  being  held  high,  left  low, 
right  foot  crossed  over  left  and  resting  on  toes,  face  smiling  and  turned 
toward  audience,  whole  expression  lively  and  animated.  This  attitude 
should  be  maintained  throughout  the  opening  chords  of  the  music,  at  the 
close  of  which  the  circle  should  be  instantly  broken,  each  retaining  her 
own  wreath,  and  those  holding  the  wreath  in  left  hand  transferring  it 
quickly  to  the  right.  Then  all,  holding  wreaths  gracefully  above  heads 
in  right  hands,  sing  chorus  and  dance,  schottische  step,  as  follows : 

Turning  to  left,  pass  partner,  eight  counts. 

Turn  vis-a-vis  with  left  hand,  eight  counts. 

Returning,  pass  partner  as  before,  eight  counts. 

Turn  vis-a-vis,  left  hand  and  salute  partner,  eight  counts. 

All  having  now  returned  to  place,  the  piano  part  is  repeated,  while 
the  dancers,  holding  wreaths  as  before,  dance  around  in  the  circle  as  in 
the  grand  right  and  left  of  the  lancers,  except  that  instead  of  touching 
right  hands  the  wreaths  are  waved  and  the  body  swayed  lightly  in  pass- 
ing. Continue  until  all  have  returned  to  place,  and  end  with  salute. 
The  amount  of  music  required  for  this  figure  depends  upon  the  number 
of  dancers  engaged.  The  passage  given  may  be  repeated  as  often  as 
necessary.  The  third  figure,  which  if  gracefully  executed  is  extremely 
pretty,  may  be  given  either  in  immediate  connection  with  the  preceding, 
or  be  reserved  for  an  encore.  Still  holding  wreath  in  right  hand,  extend 
both  hands  to  partner.  Take  long,  gliding  steps  sideways  toward  audi- 
ence (two  counts),  at  the  same  time  raising  the  arm  which  is  toward  the 
audience  until  the  wreath  is  above  the  head.  The  other  arm  should 
move  in  exact  opposition  throughout,  the  torso  inclined  slightly  away 
from  audience,  head  slightly  forward,  face  toward  audience.  Bring  the 
retired  foot  up  to  closed  position  with  the  advanced  (two  counts). 
Repeat,  reversing  the  direction  of  the  movements,  the  gliding  step  being- 
taken  away  from  instead  of  toward  the  audience  (four  counts).  Now 
raise  the  arm  that  is  toward  the  audience  and  pass  the  wreath  over  the 
heads,  at  the  same  time  pivoting  on  both  feet  and  turning  the  body  so 
that  partners  now  stand  back  to  back.  Each  releasing  her  partner's 
wreath  retains  her  own,  and,  holding  it  gracefully  above  her  head,  salutes 


14 

her  new  vis-a-vis  (eight  counts),  who  becomes  her  partner  as  the  figure 
is  repeated  (sixteen  counts).  This  brings  partners  facing  each  other 
again,  and  the  figure  may  be  repeated,  if  desired,  ending  with  the 
dancers  in  the  attitude  of  salutation,  which  should  be  retained  as  the 
curtain  falls.  In  bowing,  one  in  each  couple  should  step  back  slightly 
toward  the  audience  and  the  other  slightly  away  from  the  audience. 
This  prevents  the  awkwardness  of  possible  collisions,  and  the  effect  of  the 
swaying  figures  crossing  each  other  is  very  pleasing. 

These  dances  should  be  executed  with  life  and  movement,  the  joyous 
and  congratulatory  spirit  of  the  occasion  being  manifest  in  everything. 
Baptiste,  as  if  rousing  himself  from  his  abstraction,  should  move  about 
returning  smiles  and  bows  of  congratulation.  Angela  should  have  her 
hands  full  of  flowers.  Her  artless  vanity  and  her  ingenuous  pleasure  in 
the  notice  she  receives  will  suggest  opportunities  for  effective  and  grace- 
ful by-play. 

TABLEAU  II. 


Scene,  the  same.  Angela  in  centre,  Baptiste  at  her  left,  Cripple  Jane 
at  her  right.  The  latter  holds  Angela's  right  hand  in  her  left,  and  in 
her  right  a  "  reedy  wand"  upraised.  She  looks  sternly  toward  Baptiste, 
who  stands  in  embarrassment  and  surprise  tinged  with  fear.  Angela 
has  drawn  back,  half  afraid.  The  peasants  are  grouped  around,  those 
farthest  from  the  central  group  eagerly  striving  to  catch  the  words  of 
"  the  village  seer,"  those  nearer  leaning  forward  or  peeping  over  the 
shoulders  of  others  in  startled  curiosity.  No  music.  The  characters 
should  remain  upon  the  stage  after  the  curtain  falls  until  the  second 
chorus  has  been  sung. 

TABLE  A  U  III. 


Scene,  Margaret's  home.  Furniture  very  simple,  an  antique  cabinet 
and  two  or  three  chairs  being  all  that  is  required.  Margaret  standing 
with  one  hand  pressed  to  her  heart,  face  tense,  listening  with  strained 
attention  to  the  chorus  in  the  distance.  Paul  holding  her  other  hand  as 
if  calling  her  attention  to  the  music,  his  face  full  of  childish  delight  and 
excitement.  The  part  of  Paul  should  be  taken  by  a  child  of  about  six 
years. 


15 
TABLEAU  IV. 

Scene,  Angela's  home.  The  cabinet  used  in  the  preceding  scene  may 
be  set  at  back  of  stage  and  concealed  by  an  ornamental  screen  which 
will  form  a  pretty  background  for  the  figures  in  this  tableau.  It  can 
thus  be  brought  into  position  for  the  fifth  tableau  without  loss  of  time. 
Very  little  change  in  the  stage-setting  is  necessary,  or,  indeed,  possible 
in  the  short  time  intervening  between  this  scene  and  the  next.  A  simple 
dressing-case  will  add  to  the  effectiveness  of  this  picture,  but  it  is  better 
to  dispense  with  it  than  to  keep  the  audience  waiting  too  long  and  lessen 
the  effect  of  the  contrast  between  tbe  two  scenes. 

Angela  seated,  centre,  with  small  mirror  in  her  hand,  her  face  turned 
to  left  and  smiling  as  if  replying  to  some  comment  of  two  maidens,  who 
stand  with  the  bridal  veil  in  their  hands  ready  to  adjust  it.  A  third, 
standing  at  Angela's  right  and  a  little  behind  her,  is  holding  a  spray  of 
flowers  at  Angela's  throat  and  looking,  as  if  for  advice,  toward  two 
maidens  in  the  foreground  at  her  right,  one  of  whom  apparently  ap- 
proves the  arrangement,  while  the  other  is  suggesting  some  change. 

TABLEAU  V. 

Scene,  Margaret's  home.  Margaret  kneeling  by  the  cabinet,  the 
drawer  of  which  is  open.  Left  hand  resting  on  handle  of  dagger,  which 
she  is  just  concealing  in  her  bodice.  Right  arm  thrown  across  the  edge 
of  drawer,  supporting  bowed  head.  Attitude  expressive  of  tragic  despair. 
Paul  entering  at  door,  in  holiday  attire.  If  the  music  given  for  this 
tableau  is  played  very  softly,  with  light,  crisp  touch,  it  conveys  an  inde- 
scribable impression  of  mockery  which  is  most  appropriate  to  the  scene. 

TABLEAU  VI. 

Scene,  the  chapel.  Altar  at  back,  centre,  draped  with  white  and 
adorned  with  flowers  and  lighted  candles.  Priest,  book  in  hand,  in  front 
of  altar.  Angela  and  Baptiste  standing  before  him.  Wedding-guests 
grouped  around.  Baptiste,  holding  Angela's  left  hand  in  his  left,  has 
been  stopped  in  the  moment  of  placing  the  wedding-ring  upon  her  finger, 
and  stands  in  horrified  amazement  looking  at  Margaret,  who,  with  her 
left  hand  on  Baptiste 's  right  arm,  holds  a  dagger  in  her  upraised  right. 
Little  Paul  clings  in  terror  to  her  dress ;  the  guests  stand  horror-struck, 


16 

all  eyes  fastened  upon  Margaret.  Cripple  Jane  is  trying  to  force  her 
way  through  the  guests  to  Margaret's  side.  Angela,  distressed  and 
frightened,  clings  to  one  of  her  attendant  maidens.     No  music. 

TABLEAU  VII. 

Scene,  the  same.  Margaret  lying  upon  the  ground,  her  head  sup- 
ported  by  Cripple  Jane.  Baptiste  has  flung  himself  upon  his  knees  be- 
side her  in  an  agony  of  repentant  grief.  The  priest,  crucifix  in  hand, 
kneels  near  her  feet.  Little  Paul  has  hidden  his  face  in  the  dress  of 
one  maiden,  who  tries  to  comfort  him.  Another  has  hidden  her  face  on 
a  companion's  shoulder.  Of  two  others  who  are  standing  together,  one 
has  leaned  forward  and  the  other  drawn  back  in  terror,  so  that  the  two 
figures  cross  each  other.  Faces  and  attitudes  of  all  expressive  of  grief 
and  awe. 

THE  MUSIC. 

The  music  is  adapted  from  Grieg's  Norwegian  Bridal  Procession  and 
an  Elevation  by  Batiste.  The  piano  should  be  behind  the  scenes  at  the 
side  of  the  stage.  The  chorus  is  sung  three  times :  On  the  stage  during 
the  first  tableau,  behind  the  curtain  after  the  second  tableau,  and  in  the 
distance  behind  the  scenes  during  the  third  tableau.  The  piano  part 
with  which  the  chorus  is  sung  is  to  be  repeated  as  often  as  necessary 
for  the  dances  in  the  first  tableau.  Count  four  to  each  measure  in  teach- 
ing the  steps.  The  same  music  is  to  be  played  as  an  accompaniment  to 
the  fourth  tableau.  The  second  and  sixth  tableaux  are  to  be  given  with- 
out musical  accompaniment.  The  music  for  the  seventh  tableau  should 
begin  with  the  rising  of  the  curtain  and  continue  throughout  the  reading 
of  the  closing  lines.  The  reader,  having  finished,  should  stand  quietly 
until  the  last  chords  die  softly  away. 


<*f><!* 


GAYLAMOUNT 

PAMPHLET  BINDER 

Manufactured  by 

\  6AYLORD  BROS.  Inc. 

Syracuse,  N.  Y. 

Stockton,  Calif. 


fc 


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